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Browse Hierarchy CWR110: Creative Writing, Forms and Structures

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Griffith Review Emerging Voices Competition

Griffith Review  has a distinguished track record of nurturing new voices, publishing creative thinkers and supporting our writers to establish enduring industry connections.

Our annual Emerging Voices competition calls for original submissions of fiction and creative non-fiction from 3,500 to 5,000 words. Entrants can write to any theme – but we're looking for new ideas, fresh voices and bold perspectives. We look for work that commands our attention.

The Emerging Voices Competition is generously supported by the Copyright Agency Cultural Fund .

2024 Winners

Supported by the Copyright Agency Cultural Fund.

Lily Holloway is a powerlifting enthusiast and third-year MFA candidate at Syracuse University. They are published or forthcoming in Black Warrior Review, Sundog Lit, Best New Zealand Poems, Peach Mag and  Hobart After Dark.  Their first chapbook was published in 2021 as part of Auckland University Press' AUP New Poets 8. Find them on Twitter and Instagram @milfs4minecraft.

Lily's winning story will be published in 2025. 

Sarah Kanake is a short story writer and novelist with a PhD in Creative Writing. She teaches creative and professional writing at QUT and also works at State Library of Queensland. Her short fiction has been published in The Southerly, Kill Your Darlings, Award Winning Australian Writing and The Lifted Brow.  She has been shortlisted for the Overland Short Story Prize, won the QUT Postraduate Writing Award and been longlisted for the Australian/Vogel's Award.  Sing Fox to Me (2016) is her first (and only) novel. 

Sarah's winning story will be published in 2025. 

Myles McGuire 's writing has been nominated for the Peter Carey Short Story Award, the Newcastle Short Story Award, the Monash Writing Prize and the QUT Writing Prize. In 2023 he was nominated for the Queensland Premier's Young Writers and Publishers Award. His work has been published in Griffith Review, Australian Literary Studies and Voiceworks. He is currently at work on a novel. 

Myles' winning story will be published in 2025. 

Kobi Ashenden  (formerly Kobi Simpson) is a young father, gardener, writer, and wannabe-luddite currently residing in Boorloo/Perth. He was born in South Australia, and since then has lived in three states, numerous houses and occasionally a car. His Nunga heritage, family, passion for strangeness, and ADHD hyper fixations compel him to write stories he hopes live and breathe. He will be published in several upcoming anthologies and was a recent mentee of the  Writing Change, Writing Inclusion program under Centre for Stories. 

Kobi's winning story will be published in 2025. 

EmiIy Tsokos Purtill is a Western Australian writer and former lawyer of Greek heritage. Her home is Boorloo/Perth and she has also lived in the UK, Vancouver, Paris and New York. Emily's debut novel Matia , following four generations of Greek-Australian women across continents and time, is forthcoming from UWA Publishing in October 2024. She currently writes and curates the online literary subscription Kaló Taxídi.

Emily's winning essay will be published in 2025. 

2023 Winners

Alex Cothren holds a PhD in Creative Writing from Flinders University. He is a winner of the Carmel Bird, William van Dyke and Peter Carey Awards for short fiction, and he has writing published in  Meanjin , Island , Overland , Griffith Review , Ruminate and Australian Book Review. His unpublished short story collection,  Let's Talk Trojan Bee , was shortlisted for the 2021 Speculate Prize.

Alex's winning story will be published in 2024.

Scott Limbrick is a writer based in Naarm (Melbourne). His fiction has appeared in Electric Literature ,  Debris Magazine ,  Westerly ,  The Furphy Anthology ,  The Suburban Review ,  Going Down Swinging ,  Kill Your Darlings' New Australian Fiction  and elsewhere. His collection-in-progress was shortlisted for the Richell Prize for Emerging Writers.

Read Scott's winning story here .

Brooke Maddison is a writer and editor working on unceded Turrbal and Yuggera land. She has a Masters of Writing, Editing and Publishing from The University of Queensland, and is the founder and co-editor of Crackle , the university’s anthology of creative writing. Her writing has been published in  Kill Your Darlings ,  Antithesis ,  Mascara Literary Review ,  Verity La , the Spineless Wonders  Queer as Fiction Anthology , and  ACE III: Arresting Contemporary Stories by Emerging Writers , among others. She has been awarded a Wheeler Centre Next Chapter Fellowship, a UQP mentorship, a Curtis Brown Creative HW Fisher scholarship and was highly commended for the 2023 Peter Blazey Fellowship.

Read Brooke's winning essay here .

Beau Windon is a neurodivergent author of Wiradjuri heritage based in Naarm. Unafraid of any writing form, he duels with them all. His creative non-fiction work has seen him awarded a 2021 Grace Marion Wilson Writeability Fellowship and a Lord Mayor’s Creative Writing Award for self-told stories. Find him at  www.beauwindon.com

Read Beau's winning essay here .

2022 Winners

Stephanie Barham is a graduate of Professional Writing and Editing at RMIT (2018). She has been published in Overland and The Sleepers Almanac, and was shortlisted for The Australian/Vogel's Literary Award in 2015.  

Read Stephanie's winning story here .

Melanie Myers won the Queensland Literary Awards Glendower Award for an Emerging Writer in 2018. Her winning manuscript was published as  Meet Me at Lennon’s  (UQP), which was shortlisted for the 2020 Queensland Premier’s Award for a Work of State Significance and The Courier-Mail People’s Choice Award.  Her short stories and non-fiction have appeared in  Kill Your Darlings ,  Overland ,  Arena Magazine ,  TEXT  and  Hecate , among many others.

Read Melanie's winning story here .

Emily O’Grady is a writer from Brisbane. Her first novel, The Yellow House won the 2018 Australian/Vogel’s Literary Award, and in 2019 she was awarded a Queensland Writers Fellowship. Her second novel will be published by Allen & Unwin in 2023.

Read Emily's winning story here .

Alex Philp is a writer of both screenplays and prose. Working with her frequent collaborator, Luisa Martiri, she wrote the short films Milk  (2018) and  Pools  (2020).  Pools  premiered at Flickerfest (2021) and was also an official selection for Show Me Shorts Film Festival New Zealand and CinefestOZ. Her short fiction has been published in  Overland, Westerly, Voiceworks  and in the  Review of Australian Fiction . She won the Rachel Funari Prize for Fiction in 2017. 

Read Alex's winning story here .

Isa Shirokawa is a writer of Asian and European descent. She has a background in law and in journalism for an international news organisation and is currently at work on her first novel.

Read Isa's winning story here .

2021 Winners

Declan Fry is a writer, poet, critic and essayist.  Born on Wongatha country in Kalgoorlie, he has written for  The Guardian ,  Saturday Paper, Overland, Australian Book Review ,  Meanjin ,  Liminal ,  Sydney Review of Books ,  Cordite ,  Kill Your Darlings  and  Westerly ,   among others.  His essay ‘Justice for Elijah or a Spiritual Dialogue with Ziggy Ramo, Dancing’ received the 2021 Peter Blazey Fellowship and he has been shortlisted for the Judith Wright Poetry Prize. 

Read Declan's winning story here .

Alison Gibbs runs her own writing consultancy producing copy for United Nations agencies and the not-for-profit sector.  Her short stories have been published and broadcast in Australia and the UK, and have received numerous shortlistings and awards.  Her debut novel  Repentance  was published by Scribe in January 2021. 

Read Alison's winning story here .

Vijay Khurana spent several years as a radio presenter and journalist before leaving broadcasting to focus on writing.  His stories have been shortlisted for the Bristol Short Story Prize (2021), the Galley Beggar Press Short Story Prize (2019–20) and the I’ll Show You Mine sex-writing prize (2019), among others. His writing is published or forthcoming in  NOON ,  The Lifted Brow  and  Seizure . 

Read Vijay's winning story here .

Andrew Roff was the winner of the 2020 Peter Carey Short Story Award. His short fiction has appeared widely, and his first collection will be published in 2022 by Wakefield Press.  

Read Andrew's winning story here .

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What makes academic writing unique?

Writing at university has a distinctive style which includes the following characteristics.

Academic writing should be formal in tone, structure and style.

Avoid using:

• colloquial language
• contractions—for example, don't
• rhetorical questions.

Use discipline-specific language, or course language, to demonstrate your understanding of the content area and to support your argument.

Investigations revealed that the uptake of technology for those over 65 was limited.

My investigation indicated that adoption of new technology for older people, over the age of 65, was not good.

The tone used in academic writing should be objective. There are exceptions to the rule, such as reflective writing, however in most cases it should sound impartial and unbiased.

Use an objective tone by removing:

• emotive words and phrases
• personal pronouns like I and you .

Most academic writing, such as essays and reports, should be written in third-person—using personal pronouns like, he , she , they .

Bachelor of Engineering students were surveyed....

Survey results demonstrated that....

Not objective:

We surveyed Bachelor of Engineering students....

The responses to the survey were shocking.

Academic writing should be clear, precise and succinct to thoroughly address the assessment task.

To make your writing clear and concise, ensure you:

• eliminate the repetition of points—say it once effectively
• identify redundant words and phrases
• remove extraneous words and phrases
• replace wordy phrases with a single word
• choose suitable verbs
• adhere to the word count.

Allow time for editing and proofreading to ensure your writing is clear and concise.

Secondly, ....

Researchers obtained results from a survey that indicated ...

Not concise:

In the second example,....

Researchers were able to obtain some results from a survey of 300 people that said that...

Academic writing should have a tone of tentativeness, or cautiousness. Research continues in every field of study, so absolute certainty rarely exists. Therefore, any claims that are made should be presented as possibilities, and not stated definitively.

A cautious tone demonstrates to the reader that you are open-minded to alternative opinions, evidence and studies that may prove otherwise. This approach strengthens your argument by positioning yourself as a critical reader, thinker and writer.

Universities who offer more online learning courses may see an increase in student enrolment, particularly in rural areas.

Not tentative:

Universities who offer more online learning courses will have an increase in student enrolment, particularly in rural areas.

Use references in your writing

Academic writing involves using expert sources to support your arguments. See the various ways to write with academic integrity.

Using references in your writing

The library offers Using references in your writing workshops. If you have missed one or unable to attend you can watch our video.

There is a range of workshops offered throughout the year, register now to improve your skills.

View available workshops

• Use the author's exact words
• Choose the words you wish to quote in your work.
• Check that the quote supports what you are trying to communicate.
• Use the appropriate referencing style for quoting.
• Take care to use the quote as the original author intended.

"Our study showed further that 97.7% of the population had a good knowledge about malaria, as they were able to define malaria as a febrile illness caused by mosquito bites" (Ferdinand et al. 2019:179).

Reference list

Ferdinand, DY, Nadlaou, B, Samuel, N, Oscar, BY, Raphael, M, Christophe, N, Lopes, S, Allan, R (2020) 'Evaluation of the effectiveness of community health workers in the fight against malaria in the Central African Republic (2012–2017)', Transactions of the Royal Society of Tropical Medicine and Hygiene, 114(3):173-184, doi : 10.1093/trstmh/trz104.

Note: Examples use the Australian Government referencing style

• Restate an author's words/ideas in your own words without altering the meaning.
• Identify the passage you wish to use.
• Establish its meaning.
• Note key words and think of alternative phrases.
• Write your own version.
• Compare yours with the original.
• Record citation information.

Original: "Our study showed further that 97.7% of the population had a good knowledge about malaria, as they were able to define malaria as a febrile illness caused by mosquito bites" (Ferdinand et al. 2019:179).

Paraphrase: Ferdinand et al. (2019) highlights that the public understands that the feverish symptoms of malaria are caused by insect bites.

• Condense the key points of an author's argument or ideas without altering the meaning.
• ideas and intentions
• meaning and details.
• Write notes in point form using keywords.
• Write a summary directly from your notes.
• Refer to the original to ensure accuracy.

Original: "Our study showed further that 97.7% of the population had a good knowledge about malaria, as they were able to define malaria as a febrile illness caused by mosquito bites. More than 94% of the population recognized fever as a malaria symptom (Table 2). This could possibly be attributed to the BBC sessions conducted by the CHWs in Paoua and Carnot, which seems to be an effective strategy in the fight against malaria at the community level. Recognizing this as a major malaria symptom is essential at the community level so that parents will immediately take children with fever to the health facility or CHW. This will contribute to reducing child mortality in the community, as recommended by the WHO."

Summarise: To improve life expectancy for infants, education by community health workers (CHW) has been a successful strategy in improving society’s understanding of fevers as an indicator of malaria (Ferdinand et al. 2019).

• Combine a number of authors' views to support your position.
• to group and present common ideas or arguments that you have read about in the literature
• to help develop and strengthen your argument
• to demonstrate you have read widely on the topic
• to be more concise with ideas when you write.
• Use your own voice to connect these ideas and show how they link to your overall argument.

Information provided by community health workers and village leaders in conjunction with community workshops has been a successful strategy in improving identification of symptoms and malaria control (Ferdinand et al. 2019; van den Berg et al. 2018).

van den Berg, H, van Vugt, M, Kabaghe, AN, Nkalapa, M, Kaotcha, R, Truwah, Z, Malenga, T, Kadama, A, Banda, S, Tizifa, T, Gowelo, S, Mburu, MM, Phiri, KS, Takken, W & McCann, RS (2018) 'Community-based malaria control in southern Malawi: a description of experimental interventions of community workshops, house improvement and larval source management', Malaria Journal, 17(1), Article 266, doi : 10.1186/s12936-018-2415-1.

Grammar Tips

Need some tips to write confidently and accurately?

Check out these resources from EnglishHELP to help you understand and navigate the variety of rules in the English language.

Academic vocabulary

Articles—the, a, an

Complex structures

Conjunctions

Countability

Hedging and boosting

Prepositions

Punctuation and spelling

Subject verb agreement

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Creative writing and literary studies

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Find books and eBooks

Use the library catalogue to access an extensive range of books in our collection that can help broaden your knowledge of your topic.  Many are available in electronic format as eBooks. You can s earch the  Library catalogue  OR use the widget below .

Find a variety of useful resources in the library catalogue by combining keywords from your topic. Check out the Prepare to search page for help with identifying keywords and creating a search statement for the catalogue.

Use these search tips for searching the catalogue more effectively.

Literary Studies

Creative Writing

• The Writing Experiment by Hazel Smith Demystifies the process of creative writing, showing that successful work arises not from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy.
• The Creative Writer's Survival Guide by John McNally McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures. A droll, truthful, and immensely helpful map to being a writer in today’s complex world.
• (Re) Writing Craft: composition, creative writing, and the future of English studies by Tim Mayers Tim Mayers explores the nature of the contemporary English department with the intent of drawing connections between the usually separate fields of creative writing and composition studies.
• How We Write: writing as creative design by Mike Sharples An accessible guide to the entire creative writing process, referring to a wealth of examples from writers such as Umberto Eco, Terry Prachett and Ian Fleming. Topics include how children learn to write, the visual design of text, and the impact of technology on writing.
• Researching Creative Writing by Jen Webb Creative writing and academic research can seem uncomfortable bedfellows. But in this learned, practical book, Jen Webb shows how 'research practices can invigorate writing; creative practices can invigorate research; and - if properly organised and managed - creative writing can operate as a mode of knowledge generation, a way of exploring problems and answering questions that matter in our current context'. Researching creative writing enables writer-researchers to craft a toolkit that will help them produce better creative work and more rigorous research work.

The Booker Prize Winners

The Booker Prize was established in 1969. The winner receives £50,000 as well as the £2,500 awarded to each of the shortlisted authors. Both the winner and the shortlisted authors are guaranteed a worldwide readership plus an increase in book sales. The winning books are available to be borrowed from the library.

• 2022 - The Seven Moons of Maali Almeida by Shehan Karunatilaka
• 2020 - Shuggie Bain by Douglas Stuart
• 2019 - The testaments by Margaret Atwood
• 2019 - Girl, Woman, Other by Bernardine Evaristo
• 2018 - Milkman by Anna Burns
• 2017 - Lincoln in the Bardo by George Saunders
• 2016 - The Sellout by Paul Beatty
• 2015 - A Brief History of Seven Killings by Marlon James
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• Last Updated: Aug 21, 2024 7:58 AM
• URL: https://libraryguides.griffith.edu.au/creative-writing

Articles on Creative writing

Displaying 1 - 20 of 46 articles.

UK’s creative industries bring in more revenue than cars, oil and gas – so why is arts education facing cuts?

Adam Behr , Newcastle University

An ode to the social realism of ‘boring’ lyrics – from The Kinks to The Streets

Glenn Fosbraey , University of Winchester

How to write a love song – three tips for beginners from a songwriting expert

‘ Cli-fi ’ might not save the world, but writing it could help with your  eco-anxiety

Rachel Hennessy , The University of Melbourne ; Alexander Cothren , Flinders University , and Amy T Matthews , Flinders University

I research the therapeutic qualities of writing about art – here are three steps for trying it yourself

Patrick Wright , The Open University

Creative writing can help improve one’s health: a South African study shows how

Dawn Garisch , University of Cape Town and Steve Reid , University of Cape Town

Boxing empowered me to express my trauma – now, I help other abuse survivors do the same, combining it with creative writing

Donna Lyon , The University of Melbourne

How a poet and professor promotes racial understanding with lessons from history

Quraysh Ali Lansana , Oklahoma State University

How to understand your grief through writing

Catherine Cole , Liverpool John Moores University

Write what you know: the COVID experience is a rich resource for year 12 English exams

Janet Dutton , Macquarie University

5 ways to teach the link between grammar and imagination for better creative writing

Brett Healey , Curtin University

Writing can improve mental health – here’s how

Christina Thatcher , Cardiff Metropolitan University

In an AI world we need to teach students how to work with robot writers

Lucinda McKnight , Deakin University

To succeed in an AI world, students must learn the human traits of writing

‘Lit therapy’ in the classroom: writing about trauma can be valuable, if done right

Yannick Thoraval , RMIT University

Too many adjectives, not enough ideas: how NAPLAN forces us to teach bad writing

What my students taught me about reading: old books hold new insights for the digital generation

Kate Flaherty , Australian National University

Life sentences – what creative writing by prisoners tells us about the inside

Dr Michael X. Savvas , Flinders University

Frozen in time, the casts of Indigenous Australians who performed in ‘human zoos’ are chilling

Katherine Johnson , University of Tasmania

‘I’m in another world’: writing without rules lets kids find their voice, just like professional authors

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Top contributors

Visiting Fellow, Centre for Cultural and Creative Research, University of Canberra, University of Canberra

Associate professor, Deakin University

Adjunct assistant professor, University of New England

PhD Student, School of Education, Curtin University

Lecturer in Creative Writing, University of Southern Queensland

Associate Dean of Humanities and Social Sciences, University of Winchester

Dean of Research (Creative), University of South Australia

Associate Professor in Media, University of Notre Dame Australia

Distinguished Professor of Creative Practice, Faculty of Arts and Design, University of Canberra

Senior Lecturer in Creative Writing, University of Stirling

Lecturer in Professional and Creative Writing, Deakin University

Principal Lecturer in Creative Writing, Coventry University

Professor of Creative Arts, Griffith University

PhD candidate in Digital Cultures, University of Sydney

Conjoint Senior Lecturer, University of Newcastle

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Graduate Certificate in Creative and Professional Writing

Graduate Certificate

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About this course.

The program offers postgraduate training in writing as a preparation for creative and professional practice and/or advanced study. The program fosters skills needed for work as a creative writer, social commentator or narrative journalist and for careers in speech writing, public advocacy, information and media communication. You will gain certified expertise in the theory and practice of creative writing and be introduced to the international cross-currents of writing and information publishing industries. You will develop the techniques of creative and professional written expression, learn concepts and methods in creative research and gain the foundations for advanced study in writing and related fields.

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Graduate Certificate in Creative and Professional Writing

Postgraduate | GRF-CPW-GCE

Write your way to a creative career

Whether you’re keen on a writing career or looking to scratch a creative itch, you’ll get an overview of the writing and information publishing industries. Build a basis for work in journalism, speech writing, public advocacy, and communications.

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• Programs and courses

Advanced Research in Creative Writing (7155LHS)

This course explores the dynamic relationship between scholarly inquiry and creative writing practice. As postgraduate students interested in gaining an advanced qualification in writing, the course will foster your understanding of what it means to pursue creative writing in an academic context. You'll deepen your understanding of key methods and approaches used in creative inquiry; receive guidance in developing creative writing within a research framework; be encouraged to explore the relationship between writing and wider social and cultural concerns, and explore writing industry practices. PREREQUISITE: NIL. CO-REQUISTE: NIL. INCOMPATIBLE: 7115LHS Advanced Research in Creative Writing.

Course study information

Credit points (awarded), study level.

Postgraduate

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Usually available.

Online Trimester 1

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Please view full class information for School of Humanities, Languages and Social Science

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

About the M.F.A. in Creative Writing

Career information is not specific to degree level. Some career options may require an advanced degree.

Current Job Openings and Salary Range

in ID, WA, OR, MT and HI

Entry-Level

Senior-Level

• Career Options
• Advertising and Promotions Manager
• English Language and Literature Teacher, Postsecondary
• Public Relations Specialist
• Technical Writer
• Writer or Author
• Poet, Lyricist or Creative Writer

Regional Employment Trends

Employment trends and projected job growth in ID, WA, OR, MT & HI

*Job data is collected from national, state and private sources. For more information, visit EMSI's data sources page .

• Degree Prep

Our students arrive as accomplished writers and readers, and while many have not yet published their stories, poems and essays, most will do so during their time in the program. An undergraduate English degree is not mandatory — our students come from diverse cultural, geographical, and artistic backgrounds, and at different times in their professional and personal lives. If you’re ready to write, apply now .

• Degree Roadmap

Ours is a three-year program, over the course of which each student works toward assembling a manuscript of publishable quality. In addition to regular workshops in a student's given genre, our program requires 18 credits of literature courses and traditions seminars be completed during the program. Some recent offerings:

• Genre-Crossing
• Women and Poetry
• Geographies of Nonfiction
• The Raptures of Research in Fiction Writing
• Traditions of Lifewriting
• Independence and Inquiry: A Nonfiction Techniques Studio
• Scholarships

The College of Letters, Arts and Social Sciences provides annual scholarship awards totaling approximately $1,600,000. For information on specific scholarships, please email  [email protected] .

You can find general need- and merit-based scholarships on the Financial Aid Office's scholarships page.

Teaching Assistantships carry value up to $26,000; other departmental scholarships can supplement this by $2,000 or more annually. 

To learn more about FAFSA deadlines and processes, available scholarships, and financial aid program types and eligibility requirements, please visit the University of Idaho  Financial Aid Office .

• Hands-On Learning

Teaching assistantships are awarded on a competitive basis. The program also offers fellowships for summer workshops and writing retreats.

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Mastering the Art of Creativity

Polish your craft and develop your voice as a professional writer in a program that features intensive theoretical and practical training across genres. Enjoy a supportive learning environment with an award-winning faculty and benefit from opportunities to be published and mentored through the Distinguished Visiting Writers Program.

• Our M.F.A. program is three years. We offer full and equitable funding for all students through Teaching Assistantships and tuition waivers.
• We admit two to four students per genre each year (nine students per cohort, on average). Our program is small by design, ensuring that community and mentorship are central to the experience of our degree candidates.
• All admitted students gain real-world skills through classroom teaching.
• We offer flexible degree paths in Poetry, Fiction, and Nonfiction, and encourage cross- and multi-genre study or single-genre study, depending on a student’s artist goals.
• Our faculty value student-centered classroom spaces where mentoring, community, and reciprocity are tightly held values. All classes are taught by working writers who have a passion for teaching.
• The Distinguished Visiting Writers Series brings field-leading authors to campus to read from their work, interface with students and the community, and lead MFA seminars.
• Fellowship opportunities include participating in Writing in the Wild at Taylor Ranch in the Frank Church Wilderness Area; University Fellowships at the Centrum Writers Conference; the Hemingway Fellowship for fiction writers; and the Academy of American Poets University Prize.
• Students have the opportunity to serve as editors for our esteemed national literary journal Fugue.
• Over the past three decades, our distinguished alumni have published over 100 books with our country’s finest trade, independent, and university presses. Students and alumni are the lifeblood of our storied MFA program.

Meet Our Faculty

M.F.A. English Faculty

Meet Our Students

M.F.A English Students